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52 Materialism, Vulgarism, and Profane Themes in Nigeria's Hip Hop

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52 Materialism, Vulgarism, and Profane Themes in Nigeria's Hip Hop 52 Materialism, vulgarism, and profane themes in Nigeria’s hip hop music videos: A content analysis ONIWON, Okatahi Godwin Department of Mass Communication, The Federal Polytechnic Nasarawa +2348036467447 [email protected] & SALAMI, Juwaretu Ozohu Department of Mass Communication The Federal Polytechnic Nasarawa +2348033717418 [email protected] Abstract Describing the Nigerian Hip Hop music industry as the latest religion, and the youth as its true adherents may not be far from reality. As a genre of music that was adapted from the Western world, particularly the United States, the Nigerian brand of Hip Hop is setting a pace in African entertainment. Whereas the industry has become mainstreamed with overwhelming acceptance across our society, its didactic definition of success to our youths is becoming extremely worrisome. By means of vulgar and profane lyrical contents, excessive display of luxury, status and the “good life”, the Nigerian Hip Hop music ingress into the psyche of our youths: distracting them from productive causes and engaging them in frivolities. Materialism, vulgarism and profane themes are now fundamental message within Hip Hop, but these factors have received little attention in extant research. As a result, this study examines the underlying meanings and extent of material, vulgar and profane themes in Nigeria’s Hip Hop music videos. With a total of 185 hip hop music videos, selected by means of a purposive sampling procedure, a content analysis design was adopted. Two independent coders were trained for the content analysis. The reliability of the selected videos was determined through Cohen’s kappa (k) symmetric measure of agreement. The result yielded 0.782 (78 percent), representing a good measure of agreement. Equally, a focus group discussion method was used to select eight Hip Hop fans who spoke about the effects of these themes on Nigerian youths. Findings revealed, among others, that the extent to which the analyzed music videos projected themes concerning materialism, vulgarity and profanity was very high and that excessive amount of jewelry, luxury brand apparel, expensive cars, derogatory lyrics and objectification of women were key messages in the videos. The study also found that exposure to these themes might have undesirable consequences on young people’s perception of success. The study therefore recommends among others that Nigerian Hip Hop musicians be reoriented in their values and encouraged to promote themes devoid of materialism, vulgarism and profanity in their videos. Keywords: Hip Hop, industry, materialism, music videos, and Nigeria. Official Publication of the Department of Mass Communication, University of Nigeria, Nsukka, International Journal of Communication: An Interdisciplinary Journal of Communication Studies, No 25, December, 2019. 53 Introduction Describing the Nigerian Hip Hop music industry as the latest religion, and the youth as its true adherents may not be far from reality. As a genre of music that was adapted from the Western world, particularly the United States, the Nigerian brand of Hip Hop is setting a pace in African entertainment. The Nigerian Hip Hop industry evolved in the late 1990s as a new form of expressive communication that was unprecedented in Nigeria’s music history. Main acts such as The Remedies, Maintain, Plantashun Boiz, Trybesmen, Swatroots, Coal City Finest, TuckTyte among others, led the movement that gave a distinctive sound to Nigerian music. Although, now refined and repackaged, the Nigerian Hip Hop music of today relays a more sophisticated sound that is eliciting much appeal from several parts of the world. On a global scale, Hip Hop has developed as a cultural and artistic phenomenon influencing youth culture around the world for the past four and a half decades (Alridge & Stewart, 2005). Alridge and Stewart (2005) aver that for many youth, Hip Hop reflects the social, economic, political, and cultural realities and conditions of their lives, speaking to them in a language and manner they understand. As a result, Alridge and Stewart maintained that because of both its longevity and its cogent message for many youth worldwide, Hip Hop cannot be dismissed as merely a passing fad or as a youth movement that will soon run its course. The above is suggestive of the fact that Hip Hop through its artistic lyrics, beats, tempo, art and acts play a strategic role in helping young people shape their view of the world. The reason for this position is perhaps due to the earlier themes that dominated the Hip Hop music industry in both the 1970s and 1980s, where this genre of music was often used to shed light on issues concerning social injustice and economic inequities, and to encourage the urban youth to express their frustrations and settle conflict by means of artwork and dance “battles” rather than physical ones (Wise & Rymes 2011). More than two decades down the line, gangsta rap with its emphasis being laid on violence and materialism, gained commercial success and drew much public attention away from those employing Hip Hop in conveying socially conscious messages (Wise & Rymes, 2011). Influenced by what De Castro (2007) labeled mass culture of consumerism, and emphasising narratives of a carnivalised culture that promote unlimited satisfaction of impulse (Langman, 2003), hip hop music models for the young: body beautification and commodification, ostentatious life style and a life where sexuality and profanity have become a question of aesthetics and normal language rather than ethics and standards (Attwood, 2008) – a culture that has been transmitted to most countries of the world, including Nigeria. In Nigeria therefore, youths, like their counterparts in other parts of the world invest a lot of time listening to music, particularly Hip Hop music (Forchu, Official Publication of the Department of Mass Communication, University of Nigeria, Nsukka, International Journal of Communication: An Interdisciplinary Journal of Communication Studies, No 25, December, 2019. 54 2013). Most of them come in contact with this art every day through radio, television, public address systems, telephones and the internet (Forchu, 2013). The easy access to these technologies makes it easier for youths to access this genre of music from their favourite Nigerian and foreign (mostly Americans) Hip Hop music stars such as Olamide, Phyno, Rick Ross and a host of others. While these artistes churn out endless singles and albums at any time of the year, scholars, educationist, and the public have continued to express concerns and worries about the nature of Hip Hop music themes which people in some quarters have described as materialistic, hedonistic, vulgar, profane and consequently damaging to the moral lives of Nigerian youths. To this end, this study content analyzed themes bordering on materialism, vulgarism and profanity in Nigerian Hip Hop music videos. Statement of the Problem There is no doubt that hip hop culture has taken the lead as one of the fastest growing musical genres in the world (Adedeji, 2013, p. 1). As an expressive art and one of the fastest growing youth-driven popular cultures, the hip hop genre has enjoyed a lot of both positive and negative media attention (Adedeji, 2013). These negative aspects which reflect themes that encourage culture of materialism, violence, and profanity among others, have been highlighted by several studies (e.g., Armstrong, 2001; Weitzer & Kubrin, 2009) as having significant impact on youth’s perception and behaviour (e.g., Forchu, 2013; Rosenberry & Vicker, 2009; Suraj, 2011; Timmerman, Allen, Jorgensen, Herrett-Skjellum, Kramer, & Ryan, 2008). For a country like Nigeria therefore, Hip Hop culture affects its youths to a large extent; as Oyinlade (2016) puts it: “Nigerian youths have been losing their focus and getting corrupt on doing something [sic] demonstrated in the music listening to [sic]” (para, music). More worrisome is the almost non-existent of indigenous (Nigerian) research studies on the subject matter. This creates a huge epistemological and methodological gap in knowledge and therefore deserves pressing investigation. Thus, this study is the first of its kind to investigate materialistic, vulgar and profane content of Hip Hop music videos in Nigeria. Be that as it may, the key challenge for communication scholars is to first understand the dynamic nature of the content of Nigeria’s Hip Hop music videos; as knowledge of this topic is valuable for creating and assessing the role of music in the positive empowerment of Nigerian Youths for worthwhile causes, and can help to inform the decision- making of policy-makers working on music censorship. Consequently, the statement of the problem of this study is posed in form of a question: “to what extent do materialistic, vulgar, and profane themes surface in Nigeria’s Hip Hop music?” Official Publication of the Department of Mass Communication, University of Nigeria, Nsukka, International Journal of Communication: An Interdisciplinary Journal of Communication Studies, No 25, December, 2019. 55 Research Objectives 1. To determine the extent to which materialistic, vulgar, and profane themes occur in Nigeria’s Hip Hop music. 2. To ascertain the underlying meanings in the content of hip-hop videos and lyrics as they are being disseminated to the public. 3. To find out the perceived effects of these materialistic, vulgar, and profane themes in Nigeria’s Hip Hop music on youths. Review of Relevant Literatures To have a better understanding
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